COMPARATIVE CRITICAL STUDIES Guidelines for Contributors and Style Sheet… · 2020. 6. 26. · Guidelines for Contributors and Style Sheet: revised May 2020 Intending contributors

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COMPARATIVE CRITICAL STUDIES

Guidelines for Contributors and Style Sheet: revised May 2020

Intending contributors should contact the Editors:

Dr Richard Hibbitt, University of Leeds: [email protected]

Dr Will McMorran, Queen Mary University of London: [email protected]

Prof. Francesca Orsini, SOAS, University of London: [email protected]

Essential points:

1. In general four issues of Comparative Critical Studies are published a year: three

hard-copy issues, normally in February, June and October, and one electronic issue

(known as eCCS), usually to coincide with the third hard-copy issue. If a double

hard-copy issue is published, there will be usually be two hard-copy issues that year

instead of three.

2. The deadline for submissions will be set accordingly by the editor or guest editor of

any given issue. Authors are advised, however, to submit their manuscript as much

in advance as possible in order to leave ample time for readers’ reports to be

obtained and any necessary revisions, permissions and other pre-publication

procedures. Special issues on particular themes will be announced in advance, and

may have their own submission timetable.

3. It is necessary to obtain permission to quote extensively from works that are still in

copyright or to include images. At the end of these guidelines you will find a copy

of the standard letter to be sent when requesting permission to reproduce material.

Copies of letters granting permission must be sent with your typescript.

4. When you submit the contribution please also supply us with:

a) a short (150-200 word) abstract of your article, together with five or six keywords, at

the start of your article.

b) a statement of your title and position as you wish them to appear in the list of

contributors and a brief summary (not more than eight lines) of your academic

affiliation(s) and recent major work and research in progress.

c) the email and mailing addresses to which, if your contribution is accepted, proofs

should be sent. Please also include your telephone numbers and, if possible, a fax

number.

5. Before you submit your typescript, please check it carefully for factual accuracy

and stylistic consistency, as correction at a later stage is expensive and can delay

progress. Special care should be taken in checking quotations and bibliographical

references for accuracy, especially spelling, accents, page and line numbers.

Authors whose language of habitual use is not English are strongly advised to

submit their final draft to an English speaker versed in academic writing before

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submitting the typescript, as the editorial team is not in a position to undertake the

correction of submissions in which English expression is not of a general standard

acceptable for publication.

6. If the ‘Guidelines’ are not followed it may be necessary to return your manuscript

for re-writing and it could then be published only in the next non-thematic/open-

submission issue.

Submission of the Typescript/Manuscript

1. Submissions should be provided as Microsoft Word compatible files, sent to the

editors as email attachments.

2. If you intend to include images, please consult the information at the end of this

document about costs, permissions, format and resolution. Images and tables should

be sent as separate files (TIFF or JPG file for PC), scanned at a minimum of 300

dpi. Captions should be provided in a separate document. Contact the editors if you

have any further questions.

3. The word limit for articles is 8,000, including endnotes (Special themed issues may

have other word limits: please consult with the guest editor(s) of the given issue).

At the top of your article please write the title followed by the author(s) name(s),

both centred. Names should be in capital letters. Your title, position, email and

postal mailing address should be listed on a separate document.

4. Double spacing should be used for text, notes and all quotations; for the layout of

quotations see below.

5. First-line indents should be set at 0.5cm. Each new paragraph should be indented

unless it is (a) the first line of the essay or of a section or sub-section, and (b) the

first line after a displayed quotation.

6. Before submitting your typescript, please check that all the endnotes have a

corresponding number in the text and that numbering is automated.

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Format and Style

In general, Comparative Critical Studies adheres to the MHRA style with a few specific

exceptions, e.g. the use of full page spans and the full version of terms such as ‘revised’,

‘translated’ and ‘edited’ in endnote references. The MHRA Style Guide can be downloaded from

their website: http://www.mhra.org.uk/Publications/Books/StyleGuide/

Please refer to the MHRA guide for all questions of style (e.g. preferred spellings; for example,

MHRA prefers ‘ize/ization’ to ‘ise/isation’). Below are some basic guidelines and examples;

please familiarize yourself with these before submitting your article:

Titles

Titles should be written in point 16, centred.

Name(s) of author(s) should be given in capitals, point 12, centred, as follows:

Title of article

NAME OF AUTHOR

Headings

If the article is divided into sections, headings should be given in capitals, point 12, flush to the

left-hand margin, as follows. Sections can be numbered, titled, or both, at the author’s discretion:

2. A META-WRITING OF HISTORY

Both Lagios and Vayenas were deeply interested in Seferis’ work as well as in the role of [etc.].

Epigraphs

Epigraphs should be flush to the right-hand margin, point 12, as follows:

I am rooted but I flow.

Virginia Woolf, The Waves

Quotations

Layout. Quotations over approximately 60 words (referred to below as ‘displayed/indented

quotations’) should be separated from the main text by an extra space above and below, as

they will be set out in a smaller type. A group of shorter quotations that are being compared

may also be displayed. Verse must be displayed. Individual shorter quotations (of fewer than

60 words) may be run on in the main text, and should be enclosed in SINGLE quotation

marks; double quotation marks should be reserved for quotations within run-on quotations.

Displayed quotations should not be enclosed in quotation marks. We use en-dashes with

spaces on each side, as follows:

‘Debates about metre – and, in due course, a more abstracted conception of rhythm – were as

such closely tied to ideals of natural expression and nationalism.’

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Punctuation after run-on quotations:

The final quotation mark should precede the comma or full stop, unless the quotation is itself

a whole sentence, e.g.:

Partial sentence quotation: punctuation before full stop

His first thought, when he tries to find an answer to this question, is to read all the great

philosophers but, he admits, that ‘life was so many-sided, and the railway age so turbulent, I

was never granted with the quiet peace of the study-chamber’.

Whole sentence quotation: punctuation after full stop

In an essay about his friend Walter Pater, the following comments by William Sharp describe

how many of those aesthetes felt about Robinson’s coterie: ‘I had no idea of how much, and

in how many ways, my entry into that friendly circle was to mean to me.’

Dialogue. All speakers’ names should be in roman and spelt out.

Commas. The serial or Oxford comma should be used only to avoid ambiguity, e.g.:

The University has departments of French, German, Spanish, and Italian.

In other cases it is not used, e.g.:

exhibiting to us the state of thought, language, religion and civilization at a period when

Sanskrit was not yet Sanskrit

Foreign languages and translation. Quotations from works in languages other than English

must be given both in the original and in translation.

For short prose quotations in the text (run on), the translation should follow the original

immediately in round brackets and within single quotation marks, e.g.:

Gramsci argues that ‘il cosmopolitismo italiano non può che non diventare internazionalismo’

(‘Italian Cosmopolitanism cannot but become internationalism’), while identifying the

mission of the new Italian people as ‘nella ripresa del cosmopolitismo romano e medioevale,

ma nella sua forma moderna e avanzata’ (‘re-enacting Roman and medieval cosmopolitanism,

but in an advanced and modern form’).

If the translation come from a published source, the reference should be given in full in an

endnote; if the translation is the author’s own, this should be noted on the first occasion only

in an endnote reference using the following wording: ‘Unless otherwise stated, all translations

are my own.’ Single quotation marks are still used for unpublished translations of quotations.

For longer quotations or verse quotations, the English translation should be given as a

displayed quotation. The original quotation must also be given, but this can either be in the

main body of the text or in an endnote; here authors can use their judgement, depending on

the amount of quoted material and the ease of reading. If in doubt, please consult the editors.

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If a displayed original quotation is given followed by a translation, the translation should be

placed below it in round brackets but not within quotation marks, e.g.:

Les écrivains de souche bretonne, normande ou provençale ont leur accent particulier, nous

croyons que les écrivains de Belgique ont aussi le leur. Pourquoi ces derniers, qui sont nés à

Bruxelles, à Gand ou à Liège, ne seraient-ils pas des écrivains de langue française au même

titre que les écrivains nés à Paimpol, à Rouen ou à Marseille?

(The writers of Breton, Norman or Provencal origin have their particular accent, and we

believe that the writers from Belgium have theirs. Why should the latter, who were born in

Brussels, Ghent or Liège, not be French-language authors in the same sense as authors born in

Paimpol, Rouen or Marseille?)

Translations of foreign titles. Translations of all titles of foreign works should be provided

in round brackets in the text following the title, but should only be italicized (books) or

enclosed in single quotation marks (articles, book chapters and poems) if they are the titles

of published translations of the work. Please check on Library Hub Discover if you are not

sure whether a book has been translated into English, and gloss the information in an endnote

if necessary.

https://discover.libraryhub.jisc.ac.uk/

Examples:

Published: ‘The influence of Obstfelder on Rilke’s own prose work Die Aufzeichnungen des

Malte Laurids Brigge (The Notebooks of Malte Laurids Brigge) is unmistakeable.’

Unpublished: ‘De røde dråber (The Red Drops) was produced for the first time in 1928 at

the avant-garde theatre Balkongen in Oslo, run by actress and stage producer Agnes

Mowinckel (1875-1963).’

Interpolations. Your interpolations should be within square brackets, e.g.:

‘among living poets one never hears an end of the tremendous De Banville, the divine

Catulle Mendez [sic], the illustrious Leconte de Lisle’.

Cuts in quotations (Ellipsis). If you are not quoting a text in full but omitting a segment or

sentence (or more), please use […] to indicate your omission. Phrased differently, if

suspension points … appear in a quotation without square brackets, this indicates that the …

is part of the original text, if […] appears, this indicates that you have made a cut, as follows:

Nations are not simply phantasmagoria of the mind … but are historical practices through

which social difference is both invented and performed. [This would indicate that … is part

of the text.]

Nations are not simply phantasmagoria of the mind […] but are historical practices through

which social difference is both invented and performed. [This indicates that you have cut and

omitted a portion of the original text.]

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Where ellipsis follows the end or precedes the beginning of a sentence, a full stop should

precede or follow the parenthesis accordingly. Where the text following ellipsis begins mid-

sentence, the initial letter of the phrase may be capitalized and placed within the brackets

thus:

‘Camus’s answer to this last question is in the affirmative. [… H]e is bound to reject the

whole system as irremediably dogmatic and violent.’

Sources. For epigraphs, whether in English or a foreign language, sources should be given

at the right (‘alignment right’), on the line following the quotation. For quotations in the

text, please state in the first endnote which edition you are using. Refer wherever possible to

the original source. Avoid referencing sources at second hand (‘cited in …’) unless it serves

the purpose of the article to do so.

In-text referencing. To avoid a large number of endnotes referencing the same text, in-text

references should be used and page or line numbers should follow the quotation, in round

brackets, as follows:

‘Eben jetzt hatte er wieder einen seiner fruchtlosen Versuche unternommen, und ich hätte

lachen können, so komisch sah er dabei aus’ (p. 6) (‘Just now he had once again tried this in

vain, and I could have laughed at how comical he appeared’).

Authors’ names, titles of sources and dates of publication should not be given in in-text

references. If using in-text referencing, give a full reference to the source in an endnote for

the first reference, followed by this wording: ‘Subsequent references to this work will be

given in the main body of the article.’

Normally in-text referencing will only be used for one or two primary sources, but it may

also be used if a secondary source is referred to regularly throughout the article.

N.B. In-text referencing should not be used simply as a means to employ a variation on the

Author-Date referencing system. If in doubt, consult the editors.

Endnotes. Please make sure that each endnote has a corresponding endnote indicator in the

text using the automated function within Microsoft Word (or word processing software

programme). Endnote indicators should be in Arabic numerals. Endnote indicators in the

text should follow the comma or full stop, where applicable, but precede a semi-colon.

Formatting of sources in endnotes

Page numbers should be in full rather than abbreviated form, i.e. pp. 267-285, not pp. 267-85.

If an edition other than the first is being cited, ‘second [or ‘third’ etc.] edition’ should be given.

We use the full form of ‘second edition’, ‘edited’, ‘translated’, ‘revised’, etc., as below:

Hermione Lee, Virginia Woolf, second edition (New York: Alfred A. Knopf, 1996), p.

640.

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René Wellek, ‘The Literary Criticism of Frank Raymond Leavis’, in Literary Views:

Critical and Historical Essays, edited by Carroll Camden (Chicago: Vesti Press, 1964),

pp. 175-199 (p. 179).

As these examples indicate, please provide place of publication as well as the name of the

publisher. If quoting from an article or book chapter, please provide the full page span as well as

the specific page from which the quotation is taken.

Book references

The first reference to a book should be in the form:

René Wellek, Concepts of Criticism, edited by Stephen G. Nichols (New Haven and

London: Yale University Press, 1965), p. 215.

Jean Gillet, Le Paradis Perdu dans la littérature française de Voltaire à Chateaubriand,

Publications de l’Université d’Orleans, U.E.R. Lettres et sciences humaines, 4 (Paris:

Gallimard, 1975), p. 4.

Charles Bernheimer, ed., Comparative Literature in the Age of Multiculturalism

(Baltimore: Johns Hopkins University Press, 1995).

Publication places and bibliographical details should be given in English:

Leo Spitzer, Stilstudien, 2 vols (Munich: Nymphenburger, 1928, reprinted Darmstadt:

Wissenschaftliche Buchgesellschaft, 1961), II, 26.

Abbreviations of states in the US should be given in this form:

Katharina Mommsen, Goethe and the Poets of Arabia, translated by Michael M. Metzger

(Rochester, NY: Camden House, 2014).

References to translations should be in the form:

Dan Sperber, Le Symbolisme en général (Paris: Seuil, 1974), p. 48; translated by Alice

L. Morton as Rethinking Symbolism (Cambridge: Cambridge University Press, 1975), p.

56.

Articles or chapters in books:

References to articles in a book or book chapters should be in the form:

René Wellek, ‘The Literary Criticism of Frank Raymond Leavis’, in Literary Views:

Critical and Historical Essays, edited by Carroll Camden (Chicago: Vesti Press, 1964),

pp. 175-199 (p. 179).

If a book is part of a series of volumes, the total number of volumes should be given in Arabic

numerals (e.g. ‘5 vols’), but the individual number of the volume should be given in Roman

numerals, as in the examples below. Note that according to MHRA conventions, the ‘p.’ to

denote a page number is not used immediately after a volume number:

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Novalis, Schriften, edited by Paul Kluckhohn and Richard Samuel, 5 vols (Stuttgart:

Kohlhammer, 1960-88), III, 520.

Friedrich Max Müller, ‘Westminster Lecture, On Missions’ (1873), in Chips from a

German Workshop, 4 vols (London: Longmans, Green and Co., 1867-75), IV, 251-290

(pp. 268-269).

If there is no volume number, insert ‘p.’ or ‘pp.’ before the page numbers, to avoid ambiguity.

Articles in journals:

References to journals/periodicals should be in the form:

Allan H. Pasco, ‘Marcel, Albertine and Balbec in Proust’s Allusive Complex’, Romanic

Review, 62.2 (1971), 113-126 (p. 121).

Use Arabic numerals for journal volume numbers.

Articles, reviews or interviews in newspapers:

References to newspapers should be in the form:

Elfriede Jelinek, interview, Frankfurter Rundschau, 14 March 1992, p. 3.

Ed Vulliamy, ‘Poison in the Well of History’, The Guardian: G2, 15 March 2000, pp. 2-3.

Online sources:

Online sources should be in the form:

Guy Barral, ‘Paul Redonnel (1860-1935): un ouvreur des littératures françaises et

occitanes: Splendeur des revues Symbolistes à Paris et à Montpellier’,

< http://bibliophilelanguedocien.blogspot.com/2012/02/paul-redonnel-1860-1935-un-

ouvreur-des.html > [accessed 28 May 2012].

Later references to a book or article in the endnotes:

Use the shortest intelligible form, normally the author’s name and a short title, followed by the

page number:

[book]: Spitzer, Stilstudien, p. 72

[article]: Pasco, ‘Marcel, Albertine and Balbec’, p. 116

We also use Ibid., in italic (with the comma in normal), but not op.cit., loc.cit., idem, etc.

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MHRA preferred spellings and format: some common examples

CORRECT INCORRECT

ed. ed

eds eds.

vol. vol

vols vols.

Dr Dr.

Mr Mr.

Mrs Mrs.

Western western

the West the west

postwar post-war

Romanticism romanticism

realize realise

emphasize emphasise

analyse analyze

civilization civilisation

organization organisation

deeply held beliefs deeply-held beliefs

nineteenth-century literature nineteenth century literature

either/or either / or

‘ [format of inverted comma or apostrophe] ’ ' [format of inverted comma or apostrophe] '

p. 4 [with space] p.4 [without space]

T. S. Eliot [with space] T.S. Eliot [without space]

Unusual Letters, Symbols and Fonts

If your contribution contains any unusual letters, symbols or fonts, you may need to send us a

hard copy of your article and possibly a disk that contains the set of special fonts. Whether this is

necessary will become apparent after you have sent us an electronic file of your paper. Please

contact the editors if you have any doubts.

Illustrations

We welcome illustrations as accompaniments to articles, although authors who wish to include

such illustrations will be solely responsible for obtaining permissions to reprint those images and

for any payments connected with their reproduction (including copyright fees and fees for

making or developing slides etc.). As with special fonts and letters, if these illustrations cannot be

sent via attachments, it will be necessary for you to send us b&w or colour prints. It is the

responsibility of the contributor to provide us with full details about the picture source and to

obtain from publishers or other relevant individuals permission to reproduce material.

Images and tables should be sent as separate files (TIFF or JPG file for PC). Scan at a minimum

of 300 dpi with a final size of scan to be approximately 250 x 200 mm (see pp. 11-12 for more

details). Mark the number in the text where you hope each illustration may appear, e.g. Fig. 1

near here. Supply a separate numbered list of captions where necessary.

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Proofs

Once an article has been accepted for publication, proofs will be sent to you for checking in due

course. Please make sure that we have your correct and current email and mailing address to

ensure that proofs can reach you without delay. Please advise us if your mailing address is likely

to change during this period. If a EUP subeditor has any queries, please send your answers to the

subeditor within one week of receipt. Please note that your corrections should be limited to

printers’ errors, which should be marked in red. Any other essential corrections, e.g. to errors of

fact, should be marked in blue; alterations may be charged to you if they exceed the absolute

minimum. Your marked proof should be returned to the Editors (and, if applicable, the guest

editors of special issues), at the address indicated on the return of proofs form. Please follow the

instructions on the return of proofs form, which will be included with your proofs.

Copies of your article

Authors will be sent one free hard copy of the journal where appropriate. They will also be sent a

print-quality PDF and a 30-day access token for the online edition of the journal. The print PDF

allows contributors to circulate their paper electronically or print hard copies for circulation.

Authors can include a link to the article on their personal webpages. It can be read for free by

members of the British Comparative Literature Association or by members of institutions who

subscribe to the journal via Edinburgh University Press:

http://www.euppublishing.com/journal/CCS

Copyright

In accordance with its normal practice, the Press asks you to assign copyright in your paper to

EUP. Ownership of copyright by the Press enables it to administer effectively volume and

subsidiary rights in the work and to protect it against copyright infringement. In assigning your

copyright, you are not forfeiting your right to use your contribution elsewhere. This you may do

without seeking permission and subject only to normal acknowledgement to the journal.

Contributors will be sent fully explanatory forms for assignment of copyright in due course.

Wording for permissions letter

Dear Madam/Sir,

I am preparing a contribution to vol. 00.0 of the journal Comparative Critical Studies, published

by the Edinburgh University Press. More information on the journal is available here:

https://www.euppublishing.com/loi/ccs

I would very much like your permission to include the following material in my contribution.

Unless otherwise informed I shall assume that your permission covers non-exclusive world rights

and use of material in all future revisions, reprints and editions of the book, in all languages.

If you will confirm the wording, proper acknowledgement of the source will, of course, be given.

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GUIDELINES FOR SUBMISSION OF DIGITAL IMAGES TO

EDINBURGH UNIVERSITY PRESS

Contact Ann Vinnicombe, Managing Production Manager (Journals), for any queries you may have:

Tel: +44 (0)131 650 4222; email: [email protected]

IMAGES SOURCED FROM THE INTERNET

Images downloaded from the internet are normally low resolution (72 dpi) and

are not suitable for reproduction by conventional printing methods.

If you locate an image on the internet you will need to find its original source and request a high-

resolution version (TIFF or JPG file). You will also need to clear permission as necessary for the use

of the images.

Screenshots: Please alert the journal editors if you intend to use screenshots or similar images

sourced from the internet (i.e. to illustrate a web page). These are low-resolution images (72 dpi) and

therefore we cannot guarantee final print quality.

PHOTOGRAPHS ● Scan at a minimum of 300 dpi and save as a TIFF or JPG file for PC

● Final size of scan to be approximately 250 x 200 mm

LINE ILLUSTRATIONS (maps, graphs, etc.) ● Scan at a minimum of 1200 dpi and save as a TIFF or JPG file for PC

● Final size of the scan to be approximately 250 x 200 mm

EPS FILES Images can also be supplied as EPS files, with a laser print for identification. EPS files cannot be

altered; if we are required to edit these files, the original application files should be supplied with all

fonts used.

IMAGES EMBEDDED IN WORD FILES Do not submit illustrations or graphs created in MS Word or Excel. This type of file cannot be

saved in EPS format and cannot easily be imported into the typesetting programs that we use. The

images should be resupplied as JPG or TIFF files.

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TINTS Tints used on computer-generated illustrations should be no lighter than 15% and no

darker than 70%. Do not use pattern fills. Do not use colour fills.

LINE WEIGHTS Bearing in mind that line illustrations supplied at approximately 250 x 200 mm will be

reduced in size to fit comfortably on an average page size of 234 x 156 mm, the line

weights will be reduced correspondingly. Do not, therefore, use a line weight of less than

1 pt in illustrations.

CHECKING IMAGE RESOLUTION You can check the image resolution of files by downloading free software, such as GIMP or XnView.

If you open the image file and then check in the print size facility, it will give you the width and

height of the image and its dpi (dots per inch). Please remember to check the size and height of the

image, as it may be at the correct resolution but only at postage stamp size!

Please note: we require a minimum resolution of 300 dpi for our image files and 1200 dpi for line

illustrations.

TRANSFER OF FILES Digital files can be supplied on CD-ROMs, DVDs and memory sticks, or uploaded to

EUP’s FTP site (please contact Ann Vinnicombe, Managing Production Editor (Journals) for access

details). Please do not supply illustrations as email attachments.

PRINT QUALITY OF LOW-RESOLUTION FILES Finally, we ask you to note that Edinburgh University Press cannot accept responsibility

for the final print quality of any low-resolution images supplied

CCS May 2020